‘Duster’ Review: Josh Holloway and Rachel Hilson Lead J.J. Abrams’ High-Octane, Low-Impact 1970s Crime Romp for Max

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There was a lot of curiosity and discussion that arose when Warner Bros. first unveiled “HBO Max” (later simply known as “Max”) as the title for their major streaming service.

The initial question that came up was, “Why connect a well-known and carefully managed brand like HBO with so much corporate debris?” or simply, “What’s the reason for linking a respected brand like HBO with all this corporate rubbish?

In the list of the top five questions, one query stood out slightly, namely “Hold on, is it possible to refer to it as ‘Max’ since HBO and Cinemax are corporate siblings under the same umbrella?

Cinemax, often perceived as HBO’s less reputable sibling, attempted to revamp or broaden its “Skinemax” image during the period of 2011 to 2019 by producing a series of successful original shows. These included titles like Strike Back, Banshee, The Knick, Warrior, Quarry and Jett. Cinemax originals were high-quality B-movies, offering action-packed, genre-based stories that were ideal for eye-catching poster designs or worn, well-read paperbacks.

Originally, Cinemax was known for its grindhouse TV content. However, when HBO Max debuted, Cinemax’s programming didn’t fit well within the new platform’s ecosystem. Now, many of those original shows are available on Max, including “Warrior,” which even returned for a third season there. Nevertheless, the content on Max has not mirrored or aligned with that typically found on Cinemax.

Setting the Warrior series apart, J.J. Abrams and LaToya Morgan’s Duster stands out as Max’s most cinematic dramatic production yet.

A desert-set production filmed in New Mexico, “Duster” is a glossy imitation of grooviness reminiscent of Arizona, yet lacks the raw, cult-worthy grit found in “Banshee.” To compare, “Duster” might be likened to the early ’70s works of Steven Spielberg, while “Banshee” mirrors those of Monte Hellman. Nonetheless, it’s an entertaining and stylish show.

These eight episodes lack depth or significant content, yet they’re akin to an adult version of the “Hot Wheels” series, providing enjoyable stardom opportunities for Josh Holloway, Rachel Hilson, and particularly Keith David.

1972 marks the commencement of Duster. Amidst the headlines about the Watergate scandal, the FBI is grappling with the aftermath of the late J. Edgar Hoover’s demise and seeking to regain its balance.

Hilson portrays Nina, a newly minted Quantico graduate, who previously received encouragement for her hiring by Director Hoover due to her ability to infiltrate civil rights organizations – a task that was important during Hoover’s tenure, but now leaves others unsure of how best to utilize her skills. Despite this confusion, Nina finds herself assigned to the Phoenix office, which ironically happens to be her desired destination, as she has made it her mission to take down Ezra (David), a powerful trucking magnate and criminal figure in the region.

Jim Holloway is behind the wheel for Ezra, speeding along rough asphalt and compacted dirt roads in a vibrant red 1970 Plymouth Duster. He handles deliveries and pickups on behalf of Ezra, with no task more significant than the season-starting procurement – a new heart for Royce, Ezra’s son who is uncommonly talented (Benjamin Charles Watson).

Jim is a devoted soldier for Ezra and affectionately refers to Luna, who isn’t his actual niece but is considered as such by her mother Izzy, as an “uncle.” Two years prior, his brother tragically passed away, leaving an unresolved mystery that continues to trouble Jim. This tragic event serves as a leverage point for Nina, allowing her to manipulate Jim in order to bring down Ezra.

The situation grows more intricate as Ezra involves Jim in a substantial undertaking involving a somewhat mysterious artifact, referred to as the MacGuffin. Meanwhile, Nina confronts prejudice in her workplace, the local FBI offices. She develops camaraderie with her Navajo colleague Awan (Asivak Koostachin) and Jessica (Sofia Vassilieva), a determined secretary. Together, they form a clever and underestimated team.

Despite being occupied with various other projects, it’s surprising that “Duster” marks Abrams’ first series as a creator or co-creator since the short-lived “Undercovers” in 2010. You won’t find it difficult to spot “Duster” as one of Abrams’ productions due to elements like the large text indicating different Southwestern locations, the frequent use of episode openers that begin in the middle of a story, and the appearance of Greg Grunberg as Abbott, the chief of Nina’s FBI office. However, unlike Abrams’ typical “mystery box” shows, this one isn’t filled with puzzles and enigmas. While there is indeed a mysterious suitcase containing cryptic items, the series primarily focuses on everyday criminal investigations.

Abrams and Morgan planned to construct a project centering around the famed star, Holloway, providing a fitting platform for his self-assured demeanor, captivating dimples, and roguish allure. To some extent, they capitalized on Holloway’s existing charisma, ensuring that Jim’s character didn’t delve too deeply into darkness, making him more of a charismatic figure than a genuine antihero. Moreover, the role didn’t demand significant acting range from Holloway.

Guessing the age of Duster’s 55-year-old star is quite challenging. No one explicitly states his age, but considering events like Jim’s service in Vietnam, it seems unlikely he could be older than 40. However, other factors imply he might be younger still. (It would be misleading to liken Duster’s portrayal of Vietnam to the brief series Quarry on Cinemax.)

The portrayal of Corbin Bernsen’s shared WWII service in the show seems to be inconsistent with age, leaving room for interpretation. It’s important to note that the characterization of Jim as a low-motivation, womanizing drifter struggling with his career trajectory carries a significantly different impact if he’s 35 compared to if he’s 55. However, despite these age-related nuances, Holloway delivers an impressive performance, Bernsen is remarkably free of smarm, and David imbues the character with an underlying emotional depth beneath his exuberant scene-stealing.

In a fresh take, here’s how the text can be rephrased:

Hilson, while not exactly a novice, is aiming for a significant breakthrough in this production. She shares a delightful dynamic with Koostachin’s Awan that particularly stands out. This on-screen duo, which even explores the local Navajo reservation, evokes a sense of familiarity in terms of geography, time setting, and Indigenous themes, drawing comparisons to AMC’s exceptional series Dark Winds. Indeed, yes. I appreciate the chemistry between Hilson and Koostachin, and they also have a great banter going with Holloway. The show deserves recognition for skillfully avoiding clichéd romantic entanglements on both fronts… for now.

In the book “Duster,” the presence of a black, female FBI agent sparks conversation among its characters, yet it doesn’t delve into an in-depth examination of the FBI during a time of transition, much like how Izzy’s involvement with the fight for women’s rights in trucking doesn’t transform the story into an exploration of organized labor as seen in “Norma Rae.” These aspects make both characters intriguing, but they don’t elevate Jim to being a well-developed character or someone who truly embodies the spirit of 1972 in any significant way.

1972 plays a significant role in the narrative of the show, rather than being a mere coincidence. In fact, the series is deeply rooted in its historical era, as evident in an early episode where characters embark on a road trip to Elvis’ house in Palm Springs, featuring a guest appearance by Colonel Tom. Real-life figures like Colonel Tom will not be the only ones appearing as characters within Duster. The show’s references to actual history are both its most intriguing and unique features, yet they sometimes seem like an additional spice that hasn’t fully blended into the overall mix of the story.

As a fan, I find myself drawn to the vibrant 1972 setting of Duster, with its nostalgic fleet of classic cars, Dayna Pink’s eclectic mix of stylish yet tacky outfits, and a soundtrack that perfectly encapsulates the era with its catchy tunes, many of which are iconic thanks to their prior appearances in films or TV shows. Each episode seems to include at least one recognizable tune from the past, making every viewing experience feel like a walk down memory lane.

In this action-packed series, filmmakers Steph Green and Darren Grant skillfully maintain the pace, interspersing high-octane car chases with moments of brutal violence that sometimes veer into over-the-top humor, reminiscent of classics such as Bullitt and Looney Tunes. However, the lack of emotional depth or introspection in these scenes can hinder the show’s attempts to evoke empathy for the characters, be they the good guys and their bonds, or the impending fates of certain villains.

Despite falling short in many logical comparisons, Duster offers an exhilarating, yet light-exertion adventure that speeds ahead during the initial summer season, emitting a faint scent of scorched rubber and patchouli oil without leaving anything of substance behind.

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2025-05-13 22:55